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Sciout: Le Directoire, also article in Revue des questions historiques, 1886. Boulay de la Meurthe: Quelques lettres de Marie Caroline; Revue d'histoire diplomatique, 1888. Barante: Histoire du Directoire and Souvenirs. McClellan: The Oligarchy of Venice. Bonnal: Chute d'une république. Seché: Les origines du Concordat. Dandolo: La caduta della republica di Venetia.
The opening opera, written on purpose to introduce Gluck to English audiences, was entitled "La Caduta del Giganti," "Fall of the Giants" and did not seem to please the public. But the young composer was undaunted. His next opera, "Artamene," pleased them no better.
I thought that I was in the right way, for I had written eight operas, which the Italians lauded to the skies. But the 'Caduta de Giganti' was a failure, and 'Artamene' likewise. I could not bear to be so misconceived. I was determined to show the English that, in spite of them, I was an artiste. I longed to bring them to my feet, as Jupiter did the Titans.
Four years later he was fortunate enough to secure Prince Melzi for a patron, who sent him to Milan, where he completed his studies with Sammartini. From 1741 to 1745 he produced numerous operas, which were well received, and in the latter year visited London, where he brought out several works, among them "La Caduta de' Giganti."
One night Handel listened to a new opera from a young and unknown composer, the "Caduta de' Giganti," one of Gluck's very earliest works, written when he was yet corrupted with all the vices of the Italian method. "Mein Gott! he is an idiot," said Handel; "he knows no more of counterpoint then mein cook." Handel did not see with prophetic eyes.
In 1745 Gluck visited England where he produced 'La Caduta de' Giganti, a work which excited the contempt of Handel. In the following year he produced 'Piramo e Tisbe, a pasticcio, which failed completely.
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